The book is revolutionary in showing female strength and intelligence matching the class of the man she was in love with. It is thought to be one of the most influential novels of all time as its themes of sexism and feminism were thought to change the course of literary history. (Lucy Walton)

Some of the most memorable biopics include: “The Barretts of Wimpole Street”, about the romance between Elizabeth Barrett and Robert Browning; “Devotion”, about the Brontë sisters; “Julie and Julia”, about cookbook author Julia Child and protégée Julie Powell; and “Becoming Jane” about the celebrated Jane Austin (sic). (Jennifer Lafferty)

Devotion? memorable? We can think of some adjectives (a few of them even positive), but memorable is not one of them.

Sabotage Times lists some alternative Christmas songs, including Xmas Breakup by Foe:

Her Christmas tune,’Xmas Breakup’ a desolate Brontë-esque tale of doomed love acts as a welcome counterpoint to the tooth rotting saccharine musical fare you often encounter at this time of year ! (Andy VP)

I saw hundreds of motion pictures in 2012, and my short list for “best of the year” was obscenely long and varied. I had to kill some darlings to get to this point, and cutting wonderful films like Chronicle (which reinvented the power fantasy for a new generation) and Wuthering Heights (as emotionally harrowing an experience you’re ever likely to find) hurt me in ways I can’t adequately explain in words. (William Bibbiani)

Andrea Arnold’s unconventional adaptation of the Emily Brontë classic brings race front and center, keeps the camera handheld and low to the ground, and lends the language a profane edge not usually associated with 19th-century English literature. Yet it’s true to the tortured heart of the novel, using raw performances and beautifully forbidding images of the English moors to re-create Brontë’s unrelenting sense of dread. (Sam Adams, Mike D'Angelo, Noel Murray, Keith Phipps, Nathan Rabin, Tasha Robinson, Scott Tobias and Alison Willmore)

The Playlist includes the film on a list of worthy films that you probably haven't seen:

We were convinced, on walking out of Andrea Arnold's adaptation of "Wuthering Heights" inVenice nearly 18 months ago, that we were looking at film that while it had little chance of catching on with the general public, it was sure to be a critical favorite. In fact, it didn't even manage that; sharply dividing reviewers, it came and went from theaters with only a few critics really shouting from the rooftops about it. But in a way, that just makes us cherish it more. Making last year's Brontë adaptation "Jane Eyre" look like a conservative "Masterpiece Theater" adaptation, Arnold rips her source material apart and starts again, creating a savage, brutal landscape (shot in glorious Academy ratio) that neatly mirrors the characters' cruelties against one another. Unlike the bulk of period dramas, there's little room for repression and subtext. Heathcliff, Cathy and co. are as blunt towards each other as characters of their fledgling age probably would be (this is a world where virtually no one makes it past the age of 25, seemingly), and Arnold's approach of casting relative newcomers pays, for the most part, great dividends, even if it makes the film a little rough around the edges in places. Those who prefer the picturesque when it comes to their costume dramas are likely to be horrified, but "Wuthering Heights" was never a pristine period piece, and even if Emily Brontë never wrote a scene in which Cathy licks blood from the back of a badly beaten Heathcliff (it's sexier than it sounds, trust us), we have no doubt that she'd approve of Arnold's invention, and the film in general.